Hans Fallada (; born Rudolf Wilhelm Friedrich Ditzen; 21 July 18935 February 1947) was a German writer of the first half of the 20th century. Some of his better known novels include Little Man, What Now? (1932) and Every Man Dies Alone (1947). His works belong predominantly to the New Objectivity literary style, a style associated with an emotionless reportage approach, with precision of detail, and a veneration for 'the fact'. Fallada's pseudonym derives from a combination of characters found in the Grimm's Fairy Tales: The titular protagonist of Hans in Luck (KHM 83), and Falada the magical talking horse in The Goose Girl.

Early life
Fallada was born in Greifswald, Germany, the child of a magistrate on his way to becoming a supreme court judge and a mother from a middle-class background, both of whom shared an enthusiasm for music, and to a lesser extent, literature. Jenny Williams notes in her biography More Lives than One (1998), that Fallada's father would often read aloud to his children works by authors such as Shakespeare and Schiller.

In 1899, when Fallada was 6, his father relocated the family to Berlin following the first of several promotions he would receive. Fallada had a very difficult time upon first entering school in 1901. As a result, he immersed himself in books, eschewing literature more in line with his age for authors such as Flaubert, Dostoevsky, and Dickens. In 1909 the family again relocated, to Leipzig, following his father's appointment to the Imperial Supreme Court.

In 1909 (age 16), he was run over by a horse-drawn cart, then kicked in the face by the horse, and the contraction of typhoid in 1910 (age 17) seem to mark a turning point in Fallada's life. His lifelong drug problems were born of the pain-killing medications he was taking as the result of his injuries. These issues manifested themselves in multiple suicide attempts.

In 1911 he made a pact with a friend, Hanns Dietrich von Necker, to stage a duel to mask their suicides, feeling that the duel would be seen as more honorable. However, because of both boys' inexperience with weapons, it was a bungled affair. Dietrich missed Fallada, but Fallada did not miss Dietrich, killing him. Fallada was so distraught that he picked up Dietrich's gun and shot himself in the chest, but somehow survived. Nonetheless, the death of his friend ensured his status as an outcast from society.

Although he was found innocent of murder by reason of insanity, from this point on he would undergo multiple stints in mental institutions. At one of these institutions, he was assigned to work in a farmyard, thus beginning his lifelong affinity for farm culture.

Writing career and encounters with National Socialism
While in a sanatorium Fallada took to translation and poetry, albeit unsuccessfully, before finally breaking ground as a novelist in 1920 with the publication of his first book Der junge Goedeschal ("Young Goedeschal"). During this period he also struggled with morphine addiction, and the death of his younger brother in the First World War.

In the wake of the war, Fallada worked at several farmhand and other agricultural jobs in order to support himself and finance his growing drug addiction. While before the war Fallada relied on his father for financial support while writing, after the German defeat he was no longer able, or willing, to depend on his father's assistance. Shortly after the publication of Anton und Gerda Fallada reported to prison in Greifswald to serve a 6-month sentence for stealing grain from his employer and selling it to support his drug habit. Less than 3 years later, in 1926, Fallada again found himself imprisoned as a result of a drug and alcohol-fueled string of thefts from employers. In February 1928 he finally emerged free of addiction.

Fallada married Anna "Suse" Issel in 1929 and maintained a string of respectable jobs in journalism, working for newspapers and eventually for the publisher of his novels, Rowohlt. It is around this time that his novels became noticeably political and started to comment on the social and economic woes of Germany. His breakthrough success came in 1930/1931 with A Small Circus (German: Bauern, Bonzen und Bomben; "Peasants, Bosses and Bombs") based on the history of the Rural People's Movement in Schleswig-Holstein and the farmers' protest and boycott of the town of Neumünster. Williams notes that Fallada's 1930/31 novel "..established [him] as a promising literary talent as well as an author not afraid to tackle controversial issues". Martin Seymour-Smith said it is one of his best novels, "it remains one of the most vivid and sympathetic accounts of a local revolt ever written."

The great success of Kleiner Mann - was nun? (Little Man, What Now?) in 1932, while immediately easing his financial straits, was overshadowed by his anxiety over the rise of national socialism and a subsequent nervous breakdown. Although none of his work was deemed subversive enough to warrant action by the Nazis, many of his peers were arrested and interned, and his future as an author under the Nazi regime looked bleak. A German film of the book was made by Jewish producers at the end of 1932, and this earned Fallada closer attention by the rising Nazi Party. The film, unlike the US film of 1934, bore little resemblance to the novel, and was finally released after many cuts by the Nazi censors in mid-1933.

These anxieties were compounded by the loss of a baby only a few hours after childbirth. However he was heartened by the great success of Little Man, What Now? in Great Britain and the United States, where the book was a bestseller. In the U.S., it was selected by the Book of the Month Club, and was even made into a Hollywood movie, Little Man, What Now? (1934).

Meanwhile, as the careers, and in some cases the lives, of many of Fallada's contemporaries were rapidly drawing to a halt, he began to draw some additional scrutiny from the government in the form of denunciations of his work by Nazi authors and publications, who also noted that he had not joined the Party. On Easter Sunday, 1933, he was jailed by the Gestapo for "anti-Nazi activities" after one such denunciation, but despite a ransacking of his home no evidence was found and he was released a week later.

After Adolf Hitler's rise to power in 1933, Fallada had to make a few changes to the novel that removed anything that showed the Nazis in a bad light: a Sturmabteilung (SA) thug had to be turned into a soccer thug, for example, and the book stayed in print until 1941, after which war time paper shortages curtailed the printing of novels.

In 2016, a complete edition was published in Germany that added about 100 pages to the original 400 pages in the 1932 edition. The cuts had been made with Fallada's consent by his publisher Ernst Rowohlt. German reviewers agreed that the tone and the structure of the novel had not suffered from the cuts, but that the restored sections added 'colour and atmosphere,' such as a dream-like Robinson Crusoe island fantasy taking the main character away from his drab everyday life, a visit to the cinema to see a Charles Chaplin movie, and an evening at the Tanzpalast (Dance Palace).

Although his 1934 novel Wir hatten mal ein Kind (Once We Had a Child) met with initially positive reviews, the official Nazi publication Völkischer Beobachter disapproved. In the same year, the Ministry for Public Enlightenment and Propaganda "recommended the removal of Little Man, What Now? from all public libraries". Meanwhile, the official campaign against Fallada was beginning to take a toll on the sales of his books, landing him in financial straits that precipitated another nervous breakdown in 1934.

In September 1935 Fallada was officially declared an "undesirable author", a designation that banned his work from being translated and published abroad. His novel Old Heart Goes A-Journeying caused him problems with the Reich Literary Chamber because it had Christianity instead of Nazism as the unifier of the people.  Although this order was repealed a few months later, it was at this point that his writing shifted from an artistic endeavor to merely a much needed source of income, writing "children's stories and harmless fairy tales" that would also conveniently avoid the unwanted attention of the Nazis. During this time the prospect of emigration held a constant place in Fallada's mind, although he was reluctant because of his love of Germany.

In 1937 the publication and success of Wolf unter Wölfen (Wolf Among Wolves) marked Fallada's temporary return to his serious, realistic style. The Nazis read the book as a sharp criticism of the Weimar Republic, and thus naturally approved. Notably, Joseph Goebbels called it "a super book". Goebbels's interest in Fallada's work would lead the writer to a world of worry: he would subsequently suggest the writer compose an anti-Semitic tract, and his praise indirectly resulted in Fallada's commission to write a novel that would be the basis for a state-sponsored film charting the life of a German family up to 1933.

The book, Der eiserne Gustav (), was a look at the deprivations and hardships brought on by World War I, but upon reviewing the manuscript Goebbels would suggest that Fallada stretch the time-line of the story to include the rise of the Nazis and their depiction as solving the problems of the War and Weimar. Fallada wrote several different versions before eventually capitulating under the pressure of both Goebbels and his depleted finances. Other evidence of his surrender to Nazi intimidation came in the form of forewords he subsequently wrote for two of his more politically ambiguous works, brief passages in which he essentially declared that the events in his books took place before the rise of the Nazis and were clearly "designed to placate the Nazi authorities".

By the end of 1938, despite the deaths of several colleagues at the hands of the Nazis, Fallada finally reversed his decision to emigrate. His British publisher, George Putnam, had made arrangements and sent a private boat to whisk Fallada and his family out of Germany. According to Jenny Williams, Fallada had actually packed his bags and loaded them into the car when he told his wife he wanted to take one more walk around their smallholding. "When he returned some time later," Williams writes, "he declared that he could not leave Germany and that Suse should unpack."

This seemingly abrupt change of plans coincided with an inner conviction that Fallada had long harbored. Years earlier he had confided to an acquaintance that: "I could never write in another language, nor live in any other place than Germany."

World War II
Fallada once again dedicated himself to writing children's stories and other non-political material suitable for the sensitive times. Nevertheless, with the German invasion of Poland in 1939 and the subsequent outbreak of World War II, life became still more difficult for Fallada and his family. War rations were the basis for several squabbles between his family and other members of his village. On multiple occasions neighbors reported his supposed drug addiction to authorities, threatening to reveal his history of psychological disturbances, a dangerous record indeed under the Nazi regime.

The rationing of paper, which prioritized state-promoted works, was also an impediment to his career. Nevertheless, he continued to publish in a limited role, even enjoying a very brief window of official approval. This window closed abruptly near the end of 1943 with the loss of his 25-year publisher Rowohlt, who fled the country. It was also at this time that he turned to alcohol and extra-marital affairs to cope with, among other matters, the increasingly strained relationship with his wife. Furthermore, in 1943 he travelled to France and the Reichsgau Sudetenland as Sonderführer (B) by order of the so-called Reichsarbeitsdienst.

In 1944, although their divorce was already finalized, a drunk Fallada and his wife were involved in an altercation in which a shot was fired by Fallada, according to Suse Ditzen in an interview she gave late in her life to biographer Jenny Williams. According to Suse Ditzen, she took the gun from her husband and hit him over the head with it before calling the police, who confined him to a psychiatric institution. (The police record of the call to the altercation makes no mention of shots being fired.) Throughout this period Fallada had one hope to cling to: the project he had concocted to put off Goebbels's demands that he write an anti-Semitic novel.

It involved the novelization of "a famous fraud case involving two Jewish financiers in the nineteen twenties" which, because of its potential as propaganda, was supported by the government and had eased pressure on him as he worked on other, more sincere projects. Finding himself incarcerated in a Nazi insane asylum, he used this project as a pretext for obtaining paper and writing materials, saying he had an assignment to fulfill for Goebbels's office. This successfully forestalled more harsh treatment: the insane were regularly subjected to barbarous treatment by the Nazis, including physical abuse, sterilization, and even death. But rather than writing the anti-Jewish novel, Fallada used his allotment of paper to write — in a dense, overlapping script that served to encode the text — the novel The Drinker (Der Trinker), a deeply critical autobiographical account of life under the Nazis, and a short diary In meinem fremden Land (A Stranger in My Own Country). It was an act easily punishable by death, but he was not caught, and was released in December 1944 as the Nazi government began to crumble.

Postwar life

Despite a seemingly successful reconciliation with his first wife, only a few months after his release he went on to marry the young, wealthy and attractive Ursula Losch, widow of the artist Kurt Losch, and moved in with her in Feldberg, Mecklenburg. Shortly after, the Soviets invaded the area. Fallada, as a celebrity, was asked to give a speech at a ceremony to celebrate the end of the war. Following this speech, he was appointed interim mayor of Feldberg for 18 months.

The time in the mental institution had taken a toll on Fallada, and, deeply depressed by the seemingly impossible task of eradicating the vestiges of fascism that were now so deeply ingrained in society by the Nazi regime, he once again turned to morphine with his wife, and both soon ended up in hospital. He spent the brief remainder of his life in and out of hospitals and wards. Losch's addiction to morphine appears to have been even worse than Fallada's, and her constantly mounting debts were an additional source of concern. Fallada wrote Jeder stirbt für sich allein (Every Man Dies Alone) between September and November 1946 (shortly before his death), whilst in a mental institution.   He told his family that he had written "a great novel".

Death and legacy
At the time of Fallada's death in February 1947, aged 53, from a weakened heart from years of addiction to morphine, alcohol and other drugs, he had recently completed Every Man Dies Alone, an anti-fascist novel based on the true story of a German couple, Otto and Elise Hampel, who were executed for producing and distributing anti-Nazi material in Berlin during the war. According to Jenny Williams, he wrote the book in a "white heat"—a mere 24 days. Fallada died just weeks before the publication of this final novel. He was buried in Pankow, a borough of Berlin, but was later moved to Carwitz where he had lived from 1933 till 1944. After Fallada's death, because of possible neglect and continuing addiction on the part of his second wife and sole heir, many of his unpublished works were lost or sold.

Fallada remained a popular writer in Germany after his death. But, although Little Man, What Now? had been a great success in the United States and the UK, outside of Germany Fallada faded into obscurity for decades. In Germany, Every Man Dies Alone made a great impact. It was filmed for television in both East and West Germany. The novel was brought to the cinema screen in 1976, starring Hildegard Knef and Carl Raddatz. Every Man Dies Alone remained untranslated in English until 2009, when it was rediscovered by American publishing house Melville House Publishing and released in the US under the title Every Man Dies Alone, in a translation by Michael Hofmann. Melville House licensed it to Penguin Books in the UK, who used the title Alone in Berlin. It became a "surprise bestseller" in both the US and UK. It was listed on the official UK Top 50 for all UK publishers, a rare occurrence for such an old book.

Other German writers who had quit the country when Hitler rose to power felt disgust for those such as Fallada who had remained, compromising their work under the Nazi regime. Most notable of these critics was Fallada's contemporary Thomas Mann, who had fled Nazi repression early on and lived abroad. He expressed harsh condemnation for writers like Fallada, who though opponents of Nazism made concessions which compromised their work. "It may be superstitious belief, but in my eyes, any books which could be printed at all in Germany between 1933 and 1945 are worse than worthless and not objects one wishes to touch. A stench of blood and shame attaches to them. They should all be pulped."

The Hans Fallada Prize, a literary prize awarded by the city of Neumünster, was named after the author.

Works
English:
Little Man, What Now? (tr. Eric Sutton, 1933; tr. Susan Bennett, 1996)
Who Once Eats Out of the Tin Bowl (UK) / The World Outside (US) (tr. Eric Sutton, 1934) / Once a Jailbird (UK) (tr. Nicholas Jacobs and Gardis Cramer von Laue, 2012)
Once We Had a Child (tr. Eric Sutton, 1935)
An Old Heart Goes A-Journeying (tr. Eric Sutton, 1936)
Sparrow Farm (tr. Eric Sutton, 1937)
Wolf Among Wolves (tr. Phillip Owens, 1938; unabridged with additional tr. by Thorsten Carstensen and Nicholas Jacobs, 2010)
Iron Gustav (tr. Phillip Owens, 1940; unabridged with additional tr. Nicholas Jacobs and Gardis Cramer von Laue, 2014)
The Drinker (tr. Charlotte and A.L. Lloyd, 1952)
That Rascal, Fridolin (juvenile; tr. R. Michaelis-Jena and R. Ratcliff, 1959)
Every Man Dies Alone (US) / Alone in Berlin (UK) (tr. Michael Hofmann, 2009)
A Small Circus (tr. Michael Hofmann, 2012)
A Stranger in My Own Country: The 1944 Prison Diary (tr. Allan Blunden, 2014)
Tales From the Underworld: Selected Shorter Fiction (ed. and tr. Michael Hoffman, 2014)
Nightmare in Berlin (tr. Allan Blunden, 2016)

Note: Translations made by E. Sutton and P. Owens in the 1930s and 40s were abbreviated and/or made from unreliable editions, according to Fallada biographer Jenny Williams.

German:

Much of Fallada's work is available in German at Projekt Gutenberg-DE Hans Fallada.

 Der junge Goedeschal, 1920
 Anton und Gerda, 1923
 Bauern, Bonzen und Bomben, 1931 (English: )
 Kleiner Mann, was nun?, 1932  (English: Little Man, What Now?)
 Wer einmal aus dem Blechnapf frißt, 1932 (English: Who Once Eats Out of the Tin Bowl / Once a Jailbird (UK))
 Wir hatten mal ein Kind, 1934 (English: Once We Had a Child)
 Märchen vom Stadtschreiber, der aufs Land flog, 1935 (English: Sparrow Farm)
 Altes Herz geht auf die Reise, 1936 (English: An Old Heart Goes A-Journeying)
 Hoppelpoppel - wo bist du?, Kindergeschichten, 1936
 Wolf unter Wölfen, 1937 (English: Wolf Among Wolves)
 Geschichten aus der Murkelei, Märchen, 1938
 Der eiserne Gustav, 1938 (English: Iron Gustav)
 Süßmilch spricht, 1938
 Kleiner Mann - großer Mann, alles vertauscht, 1939
 Süßmilch spricht. Ein Abenteuer von Murr und Maxe, Erzählung, 1939
 Der ungeliebte Mann, 1940
 Das Abenteuer des Werner Quabs, Erzählung, 1941
 Damals bei uns daheim, Erinnerungen, 1942
 Heute bei uns zu Haus, Erinnerungen, 1943
 Fridolin der freche Dachs, 1944 (English: That Rascal, Fridolin)
 Jeder stirbt für sich allein, 1947 (English: Every Man Dies Alone (US) / Alone in Berlin (UK))
 Der Alpdruck, 1947 (English: Nightmare in Berlin)
 Der Trinker, 1950 (English: The Drinker)
 Ein Mann will nach oben, 1953
 Die Stunde, eh´du schlafen gehst, 1954
 Junger Herr - ganz groß, 1965
  2005 (posthumously published)
 In meinem fremden Land: Gefängnistagebuch 1944 (ed. Jenny Williams & Sabine Lange 2009) (English: A Stranger in My Own Country: The 1944 Prison Diary)

Filmography
 Little Man, What Now?, directed by Fritz Wendhausen (Germany, 1933, based on the novel Little Man, What Now?)
 Little Man, What Now?, directed by Frank Borzage (1934, based on the novel Little Man, What Now?)
 , directed by  (Germany, 1938, based on the novel An Old Heart Goes A-Journeying), banned in Nazi Germany, released after World War II
 Heaven, We Inherit a Castle, directed by Peter Paul Brauer (Germany, 1943, based on the novel Kleiner Mann, großer Mann – alles vertauscht)

 , directed by  (Italy, 1960, TV miniseries, based on the novel Little Man, What Now?)
 Wer einmal aus dem Blechnapf frisst, directed by Fritz Umgelter (West Germany, 1962, TV miniseries, based on the novel Who Once Eats Out of the Tin Bowl)
 Jeder stirbt für sich allein, directed by Falk Harnack (West Germany, 1962, TV film, based on the novel Every Man Dies Alone)
 Wolf Among Wolves, directed by Hans-Joachim Kasprzik (East Germany, 1965, TV miniseries, based on the novel Wolf Among Wolves)
 Der Trinker, directed by Dietrich Haugk (West Germany, 1967, TV film, based on the novel The Drinker)
 Kleiner Mann – was nun?, directed by Hans-Joachim Kasprzik (East Germany, 1967, TV miniseries, based on the novel Little Man, What Now?)
 Jeder stirbt für sich allein, directed by Hans-Joachim Kasprzik (East Germany, 1970, TV miniseries, based on the novel Every Man Dies Alone)
 , directed by Egon Monk (West Germany, 1973, TV miniseries, based on the novel A Small Circus)

 Everyone Dies Alone, directed by Alfred Vohrer (West Germany, 1976, based on the novel Every Man Dies Alone)
 , directed by  (West Germany, 1978, TV miniseries, based on the novel Ein Mann will nach oben)
 , directed by Wolfgang Staudte (West Germany, 1979, TV miniseries, based on the novel Iron Gustav)
 , directed by  (East Germany, 1985, TV film, based on a short story from Geschichten aus der Murkelei)
 , directed by  (East Germany, 1987, TV film, based on the novel An Old Heart Goes A-Journeying)
 , directed by  (Germany, 1995, TV film, based on the novel The Drinker)
 Alone in Berlin, directed by Vincent Perez (2016, based on the novel Every Man Dies Alone)

Sources
 Daniel Börner: "Wenn Ihr überhaupt nur ahntet, was ich für einen Lebenshunger habe!" Hans Fallada in Thüringen. Ausstellungskatalog (Literaturmuseum "Romantikerhaus", 3. Juli bis 10. Oktober 2010), Stadtmuseum Jena (Dokumentation, Band 18), Jena 2010.
 Ulrich "Uli" Ditzen: Mein Vater und sein Sohn. Aufbau, Berlin 2004, .
 Klaus Farin: Hans Fallada. "… welche sind, die haben kein Glück". Tilsner, München 1993 (= Taschenführer populäre Kultur 3), .
 Patricia Fritsch-Lange, Lutz Hagestedt (Hrsg.): Hans Fallada. Autor und Werk im Literatursystem der Moderne. Walter de Gruyter, Berlin/Boston 2011, .
 Carsten Gansel, Werner Liersch (Hrsg.): Hans Fallada und die literarische Moderne. V&R unipress, Göttingen 2009 (= Deutschsprachige Gegenwartsliteratur und Medien 6), .
 Sabine Koburger: Ein Autor und sein Verleger. Hans Fallada und Ernst Rowohlt in Verlags- und Zeithorizonten. Belleville, München 2015 (= Theorie und Praxis der Interpretation 12), .
 Hannes Lamp: Fallada – Der Alp meines Lebens. Gundlach und Klamp 2007, .
 Sabine Lange: Fallada – Fall ad acta? Sozialistische Erbepflege und das Ministerium für Staatssicherheit. Edition Temmen, Bremen 2006.
 Werner Liersch: Fallada. Der Büchersammler, der Literaturkritiker, der Photographierte, der Missbrauchte. Individuell, Schöneiche bei Berlin 2005, .
 Cecilia von Studnitz: Ich bin nicht der, den Du liebst. Die frühen Jahre des Hans Fallada in Berlin. Steffen, Friedland 2007, .
 Anja C. Schmidt-Ott: Young love – negotiations of the self and society in selected German novels of the 1930s (Hans Fallada, Aloys Schenzinger, Maria Leitner, Irmgard Keun, Marie Luise Kaschnitz, Anna Gmeyner and Ödön von Horváth). Lang, Frankfurt am Main u. a. 2002 (= Europäische Hochschulschriften; Reihe 1, Deutsche Sprache und Literatur; 1835), .
 Geoff Wilkes: Hans Fallada's crisis novels 1931–1947. (= Australian and New Zealand studies in German language and literature. 19). Lang, Bern u. a. 2002, .
 Jenny Williams: Mehr Leben als eins – Hans Fallada – Biographie. Übersetzt aus dem Englischen von Hans Christian Oeser, Berlin 2011, . (erweiterte und aktualisierte Neuausgabe, im Anhang: u. a. ein Werkverzeichnis, Werke anderer Autoren und ein Literaturverzeichnis.)
 Klaus-Jürgen Neumärker: Der andere Fallada : eine Chronik des Leidens. Steffen-Verlag, Berlin 2014, .
 Karin Großmann (Sächsische Zeitung): Immer nah am Abgrund (PDF). Rowohlt Theaterverlag. (Gespräch mit dem Psychologen Klaus-Jürgen Neumärker: Es wird die Frage gestellt: "Wurde Hans Fallada vergiftet? Der Psychologe Klaus-Jürgen Neumärker hat bisher unbekannte Krankenakten erforscht und bringt überraschende Fakten ans Licht").
 Werner Liersch: Kleiner Mann – wohin? – Zerrissen, heimatlos, süchtig – wie der Schriftsteller Hans Fallada in den Nachkriegsjahren lebte und starb. In: Berliner Zeitung– Onlineausgabe, 3 February 2007; retrieved, 2 December 2015.
 Gunnar Müller-Waldeck: Hans Fallada – nach wie vor. Betrachtungen – Erinnerungen – Gespräche – biographische Splitter. Elmenhorst / Vorpommern: Edition Pommern 2016, .

Notes

References
Williams, Jenny. More Lives than One: A Biography of Hans Fallada, 1998.

External links

 Works by Hans Fallada at Projekt Gutenberg-DE

 Hans Fallada, unofficial English-language website

1893 births
1947 deaths
People from Greifswald
Writers from the Province of Pomerania
20th-century German male writers
20th-century German novelists
German male novelists
Writers from Mecklenburg-Western Pomerania
People acquitted of murder
Reich Labour Service members

Hans Fallada


18236 Bernardburke este un asteroid din centura principală de asteroizi.

Descriere
18236 Bernardburke este un asteroid din centura principală de asteroizi. A fost descoperit pe  la Observatorul Palomar de Cornelis Johannes van Houten, Ingrid van Houten-Groeneveld și Tom Gehrels. Asteroidul prezintă o orbită caracterizată de o semiaxă mare de 2,41 ua, o excentricitate de 0,05 și o înclinație de 3,9° în raport cu ecliptica.

Vezi și
 Lista planetelor minore: 18001-19000
 Centura de asteroizi

Referințe

Obiecte astronomice descoperite în 1973
Centura de asteroizi

18236 Bernardburke


Cotswold es un distrito no metropolitano del condado de Gloucestershire (Inglaterra). Fue constituido el 1 de abril de 1974 bajo la Ley de Gobierno Local de 1972 como una fusión del distrito urbano de Cirencester y los distritos rurales de Cirencester, North Cotswold, Northleach y Tetbury.

Geografía
Según la Oficina Nacional de Estadística británica, Cotswold tiene una superficie de 1164,52 km².

Demografía
Según el censo de 2001, Cotswold tenía 80 376 habitantes (48,6% varones, 51,4% mujeres) y una densidad de población de 69,02 hab/km². El 18,62% eran menores de 16 años, el 71,43% tenían entre 16 y 74, y el 9,95% eran mayores de 74. La media de edad era de 41,93 años.

Según su grupo étnico, el 98,8% de los habitantes eran blancos, el 0,48% mestizos, el 0,24% asiáticos, el 0,1% negros, el 0,17% chinos, y el 0,21% de cualquier otro. La mayor parte (94,41%) eran originarios del Reino Unido. El resto de países europeos englobaban al 2,24% de la población, mientras que el 0,8% había nacido en África, el 1,11% en Asia, el 0,96% en América del Norte, el 0,08% en América del Sur, el 0,37% en Oceanía, y el 0,03% en cualquier otro lugar. El cristianismo era profesado por el 80,13%, el budismo por el 0,18%, el hinduismo por el 0,07%, el judaísmo por el 0,14%, el islam por el 0,13%, el sijismo por el 0,02%, y cualquier otra religión por el 0,28%. El 12,87% no eran religiosos y el 6,16% no marcaron ninguna opción en el censo.

El 37,64% de los habitantes estaban solteros, el 46,94% casados, el 1,74% separados, el 6,31% divorciados y el 7,38% viudos. Había 34424 hogares con residentes, de los cuales el 28,98% estaban habitados por una sola persona, el 6,87% por padres solteros con o sin hijos dependientes, el 62,09% por parejas (53,66% casadas, 8,43% sin casar) con o sin hijos dependientes, y el 2,05% por múltiples personas. Además, había 1226 hogares sin ocupar y 1183 eran alojamientos vacacionales o segundas residencias.

Referencias

Enlaces externos

 Sitio web oficial del Ayuntamiento de Cotswold .

Cotswold

Distrito de Cotswold


An Festuca minutiflora in uska species han Liliopsida nga ginhulagway ni Per Axel Rydberg. An Festuca minutiflora in nahilalakip ha genus nga Festuca, ngan familia nga Poaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Festuca

Festuca minutiflora


Bridge Lake ist der Name folgender Orte:

 Bridge Lake, Ort in British Columbia, Kanada

Bridge Lake (engl. für "Brücken-See") ist der Name folgender Seen in Kanada:

 Bridge Lake (See in British Columbia)
 Bridge Lake (Algoma District)
 Bridge Lake (Kenora District)
 Bridge Lake (Parry Sound District)
 Bridge Lake (Saskatchewan)
 Bridge Lake (Nordwest-Territorien)

Bridge Lake (Begriffsklärung)


Paco Azorín (Yecla, 2 de noviembre de 1974) es un director de escena, escenógrafo y productor español. Vive entre Barcelona (ciudad en la que se formó y en la que empezó su carrera profesional) y Sevilla.

Biografía
Formado en el Instituto del Teatro de Barcelona (1992-1996). Rápidamente empezó a trabajar para algunos de los directores y coreógrafos más importantes del país, como Carme Portaceli, Lluís Pasqual, Víctor Ullate, Mario Gas, Ernesto Caballero, Helena Pimenta o Sergi Belbel. En sus primeros trabajos ya demostró una gran capacidad para captar el mensaje de las obras, reflejándolo en los escenarios, con una gran economía de medios.

En 2003 fundó el Festival Shakespeare de Santa Susana, único festival de todo el estado dedicado íntegramente a la figura del dramaturgo inglés. Fue el director de las cuatro primeras ediciones (2003-2006). Desde el año 2007 colabora impartiendo clases en el Instituto del Teatro de Barcelona, así como organizando másteres en diversos países. Tiene también una amplia actividad como director de escena, tanto de espectáculos de teatro como de lírica.

Desde 2002 ha producido más de una decena de espectáculos teatrales, siendo los más recientes Escuadra hacia la muerte de Alfonso Sastre, en coproducciones con el Centro Dramático Nacional y Metaproducciones. Julio César de William Shakespeare, en coproducción con el Festival Internacional de Teatro Clásico de Mérida (2013), el Teatro Circo de Murcia y Metaproducciones.

Premios

 Premio Alfonso X de la Cultura de la Región de Murcia 2022.
 Premio de la Crítica Serra d'Or 2021 por "Poder i Santedat"
Premio Cerino 2018 a la mejor escenografía por "Filoctetes"
 Premio Amics de l'opera 2017 del Teatre Principal de Palma al mejor montaje teatral por "María Moliner".
 Premio Ceres 2013 a la mejor escenografía por "El veneno del teatro" y "El lindo Don Diego".
 Premio periódico 7 DIAS al mérito cultural.
 Premio de la Asociación de Directores de Escena de España 2009 a la mejor escenografía por "la casa de Bernarda Alba".
 Premio Butaca 2009 a la mejor escenografía por "la casa de Bernarda Alba".
 Premio de la Generalidad Valenciana 2008 a la mejor escenografía por "los enredos de Scapin".
 Premio Públics de Tarragona 2006 a la mejor escenografía por "El método Gronholm".
 Premio de la Generalidad Valenciana 2005 a la mejor escenografía por "sopa de pollo con cebada"
 Premio Butaca 2004 por "Lear".
 Premio de la Crítica Serra d'Or 2004 a la aportación teatral más interesante.
Nominaciones a los Premios Max:
 2013. Mejor adaptación teatral: "Julio César".
 2013. Mejor escenografía: "El lindo don Diego".
 2009. Mejor escenografía: "La casa de Bernarda Alba".

Principales trabajos de ópera y zarzuela

Como director
 Medea, de Luigi Cherubini. Dirección musical de Ivor Bolton. Teatro Real, Madrid, septiembre de 2023.
 The Planets, de Gustav Holst. Dirección musical de Virginia Martínez. OSRG. junio 2022.
 The magic Opal, de Isaac Albéniz. Dirección musical de Guillermo García Calvo. Teatro de la Zarzuela, abril 2022.
 Una tragedia Florentina, de Alexander von Zemlinsky. Dirección musical de Pedro Haffter. ABAO, Bilbao, marzo de 2022.
 La voix humaine, de Francis Poulenc. Dirección musical de Pedro Haffter. ABAO, Bilbao, marzo de 2022.
 Tosca, de Giacomo Puccini. Dirección musical de Nicola Luisotti. Teatro Real, Madrid, julio de 2021.
El Monstre al Laberint, de Jonathan Dove. Dirección musical de Manel Valdivieso. Gran Teatro del Liceo, Barcelona, abril de 2021.
 La Traviata, de Giuseppe Verdi. Dirección musical de Riccardo Frizza. Festival Castell de Peralada, 2019.
 Samson et Dalila, de Camille Saint-Saëns. Dirección musical de Álvaro Albiach. Festival de Mérida, junio de 2019. Teatro de la Maestranza, Sevilla, noviembre de 2019.
 Tosca, de Giacomo Puccini. Dirección musical de John Fiore. Gran Teatro del Liceo, Barcelona, junio de 2019.
 Il finto sordo, de Manuel García. Dirección musical de Rubén Fernández Aguirre. Fundación Juan March, Teatro de la Zarzuela y ABAO, mayo de 2019.
 Maruxa, de Amadeo Vives. Dirección musical de José Miguel Pérez Sierra. Teatro Campoamor de Oviedo, marzo de 2019.
 Don Giovanni, de W.A. Mozart. Dirección musical de Cristóbal Soler. Teatro Principal de Palma, febrero de 2019.
 Maruxa, de Amadeo Vives. Teatro de la Zarzuela, 2018.
 Vivica & Viardot, sobre canciones de Pauline Viardot. Teatro Calderón, 2016.
 La Brecha, de Jacques Alphonse De Zeegant. Festival de verano Sagunto a Escena, 2017.
 Otello, de Giuseppe Verdi. Macerata Opera Festival, 2016.
 Henry V, de W. Shakespeare con música de William Walton. Festival de música y danza de Granada, 2016.
 María Moliner, de Antoni Parera Fons. Teatro de la Zarzuela, 2016.
 Don Giovanni, de W. A. Mozart. Teatro Comunale, Sassari (Italia), 2015.
 Tosca, de Giacomo Puccini. Quincena Musical de San Sebastián, 2015.
 Otello, de Giuseppe Verdi. Festival Castell de Peralada, 2015. Teatro Calderón de Valladolid, 2016.
 Una Voce in off, de Xavier Montsalvatge. Gran Teatro del Liceo, 2015.
 Salomé'', de Richard Strauss. Festival de Teatro Clásico de Mérida, 2014.
 La Voix Humaine, de Francis Poulenc. Teatros del Canal, 2014. Gran Teatro del Liceo, 2015.
 Tosca, de Giacomo Puccini. Gran Teatro del Liceo, Barcelona, 2014. Teatro de la Maestranza, 2015.
 Con los pies en la luna, de Antoni Parera Fons. Gran Teatro del Liceo. Teatro Real de Madrid. ABAO y Teatro de la Maestranza, 2011.
 Cien puñaos de rosas, a partir de Ruperto Chapí. Áreade las Artes del Ayuntamiento de Madrid, 2009.
 Gran Vía Esquina Alcalá, de Yolanda García Serrano. Área de las Artes del Ayuntamiento de Madrid, 2007.

 Como escenógrafo
 Orphée et Eurydice, de Christoph Willibald Gluck. Opéra de Metz, Francia, abril de 2019.
 El enigma di Lea, de Benet Casablancas. Dirección de Carme Portaceli. Gran Teatro del Liceo, febrero de 2019.
 Fuenteovejuna, de Jorge Muñiz. Dirección de Miguel del Arco. Teatro Campoamor, Ópera de Oviedo. 2018.
 Turandot, de Giacomo Puccini. Dirección de Mario Gas. Festival de Mérida. 2016.
 Jérusalem de Giuseppe Verdi. Theater Bonn, Alemania, 2016.
 Suor Angelica'', de Giacomo Puccini. Teatro Real, Madrid, 2012.
 Manon Lescaut, de Giacomo Puccini. Opéra National de Lyon, Francia, 2010.
 La viejecita - Chateau Margaux, de Fernández Caballero. Teatro Arriaga. Festival Grec, 2009.
 La calesera, de Francisco Alonso. Teatro de la Zarzuela. Madrid, 2009.
 Las bodas de Fígaro, de W.A. Mozart. Gran Teatro del Liceo. Barcelona, 2008 - 2012 - 2016. Ópera Nacional Galesa. Cardiff, 2009.
 Plaza Mayor de Chueca, a partir de Federico Chueca. Área de las Artes del Ayuntamiento de Madrid, 2008.
 Il prigioniero, de Luigi Dallapiccola. Ópera de París. Palais Garnier, 2008.
 Ode à Napoleon, de Arnold Schoenberg. Ópera de París. Palais Garnier, 2008.
 Cantos de amor, furor y lágrimas, de Monteverdi. Palacio de la Música Catalana durante el Festival Grec Barcelona, 2008.
 La Gran Vía, de Federico Chueca. Área de las Artes del Ayuntamiento de Madrid, 2006.
 La violación de Lucrecia, de Benjamin Britten. Festival Shakespeare, Instituto Valenciano de la Música, 2004.

 Principales trabajos de teatro

 Como director
 Poder i Santedat, de Manuel Molins. Diputación de Valencia - Delegación de Teatros, Teatro Principal de Valencia, octubre de 2020.Melodrama, R. Strauss. Fundación Juan March, 2017.
 Escuadra hacia la muerte, de Alfonso Sastre. Teatro María Guerrero, 2016.
 Julio César, de W. Shakespeare. 59 Festival Internacional de Teatro Clásico de Mérida. 2013.
 Hamlet, el dia dels assassinats, de Bernard-Marie Koltès. Festival Shakespeare 2007 y Teatros de la Generalidad Valenciana 2008.

 Como escenógrafo
 La Victor C, de Anna Maria Ricart. Dirección de Carme Portaceli. Teatre Nacional de Catalunya, 2022.
 El cuidador, de Harold Pinter. Dirección de Antonio Simón. Teatro bellas artes, 2022.
 Heisenberg, de Simon Stephens. Dirección de Josep Maria Mestres. Sala Beckett, 2021.
La casa de los espíritus, de Isabel Allende. Dirección de Carme Portaceli. Teatro Español, Festival Grec 2021.
Nápoles millonaria, de Eduardo de Filippo. Dirección de Antonio Simón. Teatro Español, 2021.
Siempreviva, de Don DeLillo. Dirección de Salva Bolta. Teatro Español, Naves del Matadero, 2021.
Puertas abiertas, de Emma Riverola. Dirección de Abel Folk. Teatre Romea, Teatro Español, 2021.Madre coraje y sus hijos, de Bertolt Brecht. Dirección de Ernesto Caballero. Centro Dramático Nacional, septiembre de 2019.
 Federico hacia Lorca, de Irma Correa y Nando López. Dirección de Miguel del Arco. Teatros del Canal, Madrid, abril de 2019.
 Mi película italiana, de Rocío Bello. Dirección de Salva Bolta. Teatro Español de Madrid, abril de 2019.
 El jardín de los cerezos, de Antón Chéjov. Dirección de Ernesto Caballero. Centro Dramático Nacioanal, enero de 2019.
 Filoctetes, de Sófocles. Dirección de Antonio Simón. Festival de Mérida. 2018.
 Troyanas, de Eurípides. Dirección de Carme Portaceli. Festival de Mérida. 2017.
 Calígula, de Albert Camus. Dirección de Mario Gas. Festival de Mérida y Focus. 2017.
 Inconsolable, de Javier Gomá. Dirección de Ernesto Caballero. Centro Dramático Nacional. 2017.
 Refugio, escrita y dirigida por Miguel del Arco. Centro Dramático Nacional. 2017.
 La autora de Las Meninas, escrita y dirigida por Ernesto Caballero. Centro Dramático Nacional y Focus. 2017.
 Jardiel, un escritor de ida y vuelta, de Jardiel Poncela y Ernesto Caballero. Dirección de Ernesto Caballero. Centro Dramático Nacional. 2016.
 Happy end, de Bertolt Brecht. Dirección de Salva Bolta. Teatro Principal de Valencia. 2016.
 Vida de Galileo, de Bertolt Brecht. Dirección de Ernesto Caballero. Centro Dramático Nacional. 2016.
 Sócrates, juicio y muerte de un ciudadano, de Mario Gas y Alberto Iglesias. Dirección de Mario Gas. Festival de Teatro Clásico de Mérida. 2015.
 Només són dones, de Carmen Domingo. Dirección de Carme Portaceli. Factoria Escènica Internacional y Teatro Nacional de Cataluña, 2015.
 Lo que no se dice, de Tennessee Williams. Dirección de Victor Formoso. Drama Producciones y Teatro Insular, 2015.
 Bangkok, texto y dirección de Antonio Morcillo López. Teatre La Villarroel y Centro Dramático Nacional. 2015.
 Rinoceronte, de Eugène Ionesco. Dirección de Ernesto Caballero. Centro Dramático Nacional. 2014.
 L'última trobada, de Sándor Márai. Dirección de Abel Folk. Teatro Romea. 2014.
 El President, de Thomas Bernhard. Dirección de Carme Portaceli. Teatro Nacional de Cataluña y Festival Temporada Alta. 2014.
 Krum, de Hanoch Levin. Dirección de Carme Portaceli. Teatre Lliure y Grec festival de Barcelona. 2014.
 Amantes, de Vicente Aranda. Dirección de Álvaro del Amo. Centro Dramático Nacional. 2014.
 El caballero de Olmedo, de Lope de Vega. Dirección de Lluís Pasqual. Compañía Nacional de Teatro Clásico y Teatre Lliure. 2014.
 L'encarregat, de Harold Pinter. Dirección de Xicu Masó. Teatre Lliure. 2014.
 Las dos bandoleras, de Lope de Vega. Dirección de Carme Portaceli. Compañía Nacional de Teatro Clásico y Factoria Escènica Internacional. 2014.
 TV & Miseria de la II Transición, de Albert Boronat. Dirección de Carme Portaceli. Grec Festival de Barcelona. 2013.
 Els ferèstecs, de Carlo Godoni. Dirección de Lluís Pasqual. Teatre Lliure. 2013.
 El lindo don Diego, de Agustín Moreto. Dirección de Carles Alfaro. Compañía Nacional de Teatro Clásico. 2013.
 La bona gent, de David Lindsay-Abaire. Dirección de Daniel Veronese. Teatro Goya. 2013.
 Si, ministre, de Antony Jay y Jonathan Lynn. Dirección de Abel Folk. Teatre Condal. 2013.
 El veneno del teatro, de Rodolf Sirera. Dirección de Mario Gas. Teatros del Canal. 2012.
 Nadie verá este vídeo, de Martin Crimp. Dirección de Carme Portaceli. Festival Grec - Centro Dramático Nacional. 2012.
 Hamlet, de W. Shakespeare. Dirección de Will Keen. Teatro Español. 2012.
 Mequinensa, de Marc Rosich, a partir de la obra de Jesús Moncada. Dirección de Xicu Masó. Teatro Nacional de Cataluña. 2012.
 Quitt, de Peter Handke. Dirección de Lluís Pasqual. Teatre Lliure, Centro Dramático Nacional. 2012.
 Els baixos fons, de M. Gorki. Dirección de Carme Portaceli. Teatro Nacional de Cataluña. 2012.
 Blackbird, de David Harrower. Dirección de Lluís Pasqual. Piccolo Teatro di Milano, 2011.
 El cuento de invierno, de William Shakespeare. Dirección de Carme Portaceli. Teatro Romea. Barcelona, 2011.
 Celebración, de Harold Pinter. Dirección de Lluís Pasqual. Teatre Lliure. Festival Temporada Alta 2011.
 Mi alma en otra parte, de José Manuel Mora. Dirección de Xicu Masó. Centro Dramático Nacional, 2011.
 Münchhausen, de Lucía Vilanova. Dirección de Salvador Bolta. Centro Dramático Nacional, 2011.
 Nuestra clase, de Tadeusz Slobodziadnek. Dirección de Carme Portaceli. Festival Barcelona Grec, 2011.
 L'auca del senyor esteve, de Santiago Rusiñol. Dirección de Carme Portaceli. Teatro Nacional de Cataluña, 2011.
 Prometeo, de Esquilo y versión de Heiner Müller. Dirección de Carme Portaceli. Teatre Grec. Festival Internacional de Teatro Clásico de Mérida. Centro Dramático Nacional, 2010.
 El mètode gronholm''', de Jordi Galceran. Dirección de Sergi Belbel. Teatro Poliorama, Barcelona, 2010.
 Ricardo II, de William Shakespeare. Dirección de Carme Portaceli. Factoría Escénica Internacional 2009.
 El narciso en su opinión''', de Guillem de Castro. Dirección de Rafa Calatayud. Teatro Rialto. Valencia, 2009.
 Te doy mis ojos''', de Icíar Bollaín. Dirección de Carme Portaceli. Factoria Escènica Internacional-Teatro Nacional de Hanói (Vietnam) Hanoi Opera House, 2009.
 La casa de Bernarda Alba''', de Federico García Lorca. Dirección de Lluís Pasqual. Teatro Nacional de Cataluña. Teatro Español. Madrid, 2009.
 Ante la jubilación''', de Thomas Bernhard. Dirección de Carme Portaceli. Centro Dramático Nacional. Madrid, 2008.
 Enrique IV, de Luigi Pirandello. Dirección de José Sancho. Teatro Principal. Valencia, 2008.
 Qué pasó cuando nora dejó a su marido, de Elfriede Jelinek. Dirección de Carme Portaceli. Teatro Nacional de Cataluña. Centre d'Arts Escèniques de Reus, 2008.
 Cet enfant, de Joel Ponmerat. Dirección de Antonio Simón. Teatre Lliure. Festival Grec Barcelona 2008.
 Els nois d'historia, de Allan Benett. Dirección de Josep Maria Pou. Teatro Goya. Barcelona, 2008.
 Tres sombreros de copa, de Miguel Mihura. Dirección de Antonio Díaz Zamora. Teatro Talía, Valencia 2008.
 Así que pasen cinco años, de Federico García Lorca. Dirección de Carme Portaceli. Taller de Teatro Experimental Caracas, 2008.

 Josep i Maria, de Peter Turrini. Dirección de Carme Portaceli. Temporada Alta 2007.
 Los enredos de Scapin, de Molière. Dirección de Rafel Calatayud. Teatro Rialto, Valencia, 2007.
 Móvil, de Sergi Belbel. Dirección de Lluís Pasqual. Teatre Lliure. Barcelona, 2007.
 El amor del ruiseñor, de Timberlake Wertenbaker. Dirección de Jorge Picó. Teatro Romano de Sagunto, Teatro Romano de Mérida, 2006.
 La buena persona de Se-Zuan, de Bertolt Brecht. Dirección de Luís Blat. Teatro María Guerrero, 2006.
 Hamlet - La tempestad, de William Shakespeare. Dirección de Lluís Pasqual. Teatro Arriaga, Teatro Español, Teatre Lliure, 2006.
 Aguantando la vela, de Fabrice Melquiot. Dirección de Carme Portaceli. Festival de Otoño 2005.
 El idiota, de Zéno Bianou. Dirección de Antonio Simón. Temporada Alta 2005.
 La casa de Bernarda Alba, de Federico García Lorca. Dirección de Carme Portaceli. Teatro Gayarre. Pamplona, 2005.
 Romance de lobos, de Valle Inclán. Dirección de Ángel Facio. Teatro Español. Madrid 2005. Sopa de pollo con cebada, de Arnold Wesker. Dirección de Carme Portaceli. Teatro Rialto. Valencia, 2004. Dinamita, idea y dirección de TRICICLE. Teatro Victoria. Barcelona, 2004.
 Genova O1, de Fausto Paradivino. Dirección de Carme Portaceli. Festival Grec Barcelona 2004.
 Canciones dedicadas, de Franz Xavier Kroetz. Dirección de Carme Portaceli. Sitges Teatre Internacional 2004.
 Canti della notte, de Jon Fosse. Dirección de Beno Mazzone. Teatro Libero. Palermo, 2004.
 Una altra Ofèlia, de Manuel Molins. Dirección de Carlos Marchena. Teatre Rialto. Valencia, 2004.
 Un ram de mar, de Joaquim Ruyra. Dirección de Joan Castells. Teatro Nacional de Cataluña, 2004.
 Juliol del 36, Barcelona, de Claude Mercadié. Dirección de Boris Rotenstein. Tantarantana, 2003.
 Lear, de Edward Bond. Dirección de Carme Portaceli. Festival Grec Barcelona, 2003.
 Electra''', de José Sanchís Sinisterra. Dirección de Antonio Simón. Festival Grec y Festival de Mérida, 2003.
 Un enemigo del pueblo, de Henrik Ibsen. Dirección de Carme Portaceli. Teatro Rialto. Valencia, 2003.
 Cendres a les cendres, de Harold Pinter. Dirección de Antonio Simón. Teatre Lliure, 2003.
 Mots de ritual per a Electra, de Josep Palau i Fabre. Dirección de Hermann Bonnín. Espai Escènic Joan Brossa. Barcelona, 2003.
 El retorn al desert', de Bernard-Marie Koltès. Dirección de Carme Portaceli. Teatre Lliure, 2003.
 El clavicèmbal', de Dani Salgado. Dirección de Lurdes Barba. Teatro Nacional de Cataluña, 2002.
 Che formidabile bordello, de Eugène Ionesco. Dirección de Beno Mazzone. Teatro Libero. Palermo, 2002.
 El paradís oblidat, de David Plana. Dirección de Carlota Subirós. Teatro Nacional de Cataluña, 2002
 El sueño de una noche de verano, de William Shakespeare. Dirección de Àngel Llàcer. Teatro Borrás. Barcelona 2002.
 Sallinger', de Bernard-Marie Koltès. Dirección de Carme Portaceli. Mercado de las Flores. Barcelona, 2002.
 Vindrà algú, de Jon Fosse. Dirección de Antonio Simón. Sala Beckett. Barcelona, 2002.
 Refugiats, de Sergi Pompermayer. Dirección de David Plana. Teatro Nacional de Cataluña, 2002.
 Locura de amor, de Sam Sephard. Dirección de Antonio Simón. Tantarantana. Barcelona 2002.
 Ran del camí, de Anton Chejov. Dirección de Joan Castells. Teatro Nacional de Cataluña, 2002.
 Ganivets a les gallines, de David Harrower. Dirección de Antonio Simón. Teatro Nacional de Cataluña, 2001.
 La confessione o l'esca del peccato, de Josep Palau i Fabre. Dirección de Hermann Bonnín. Teatro Libero. Parlemo, 2001.
 Ball-trampa, de Xavier Durringer. Dirección de Carme Portaceli. Festival Grec Barcelona, 2001.
 Cara de foc, de Marius Von Mayembourg. Dirección de Carme Portaceli. Teatre Lliure. 2001.
 El far del Maleït, de Paul Autier y Paul Cloquemin. Dirección de Hermann Bonnin. Espai Escènic Joan Brossa. Barcelona, 2001.
 Casta diva''', del musical més petit. Dirección de Victor Àlvaro. Teatreneu. Barcelona, 2000.
 ¡Ay, Carmela!', de José Sanchis Sinisterra. Dirección de Antonio Simón. Festival EL QUIJOTE. París 2000.
 Por, menjar-se ànima, de Rainer W. Fassbinder. Dirección de Carme Portaceli. Tantarantana. Festival Grec Barcelona, 2000.
 Contra l'oblit, de diversos autores. Dirección de Carme Portaceli y Antonio Simón. Tantarantana. Festival Grec Barcelona, 1999.

 Principales trabajos para danza y musical

 In paradisum, coreografía de Antonio Ruz. Teatros del Canal, 2021.Presente, coreografía de Antonio Ruz. Teatros del Canal, Madrid, octubre de 2018
 Electra, músicas de Pablo Martín Caminero, Diego Losada y Moisés Sánchez. Dirección y coreografía de Antonio Ruz. Ballet Nacional de España. 2017.
 Carmen, de Georges Bizet y Pedro Navarrete, coreografía y dirección de Víctor Ullate. Victor Ullate Ballet Comunidad de Madrid. 2017.
 Moustache, dirección y coreografía de Coco Comín. Teatro Apolo de Barcelona, 2016.
 El amor brujo, de Manuel de Falla, coreografía y dirección de Víctor Ullate. Teatro de Vichy, Francia y Teatro Real de Madrid. 2014.
 Bolero, coreografía y dirección de Víctor Ullate. Teatro Jovellanos, Gijón. 2013.
 Nexos / Y / Jaleos, coreografía y dirección de Víctor Ullate. Teatros del Canal. 2013.
 La venus de Willendorf, de Iago Pericot. Coreografía de Jordi Cortés. Festival Grec Barcelona, 2010
 Wonderland, coreografías de Víctor Ullate y Eduardo Lao. Teatros del Canal, Festival de Peralada, 2010
 El arte de la danza, dirección y coreografías de Víctor Ullate y Eduardo Lao. Ballet de la Comunidad de Madrid. Teatro Cuyás. Las Palmas de Gran Canaria, 2010
 Beethoven, dirección y coreografías de Víctor Ullate y Eduardo Lao. Ballet de la Comunidad de Madrid. Teatro Albéniz. Madrid, 2008
 El amor brujo, de Manuel de Falla. Coreografía de Ramón Oller. Ballet de la Generalidad Valenciana. Teatro Principal. Valencia, 2008
 Mozartnu''' 1986-2008. Idea y dirección de Iago Pericot. Coreografía de Jordi Cortés. Mercado de las Flores. Barcelona, 2008
 2 you maestro, coreografía y dirección de Víctor Ullate. Ballet de la Comunidad de Madrid. Teatro Real. Madrid, 2008
 Samsara, coreografía y dirección de Víctor Ullate. Ballet de la Comunidad de Madrid. Teatro de Madrid, 2006. Paella mixta, coreografía y dirección de Sol Picó. Teatro Nacional de Cataluña y Forum de las Culturas 2004
 Jump start and jazz, de Wynton Marsalis. ITDansa. Orquesta de cámara del Teatre Lliure. Festival Barcelona Grec 2001
 Lulu (primera noche), de David Plana. Coreografía de Roberto G. Alonso. Sigtes Teatro Internacional, 2000
 A compás del poeta, de Carmen Rubio. Dirección y coreografía de Matilde Rubio. Teatro de La Vaguada. Madrid 1996
 Bienvenido Mister Marshall, musical basado en la película de Berlanga-Barden. Dirección de José Antonio Escrivá. Teatro Principal Valencia, 2007
 Grease, de Jim Jacobs i Warren Casey. Dirección musical de Manu Guix. Coreografía de Coco Comín. Dirección de Ricard Reguant. Teatro Victoria. Barcelona, 2006. Nuevo Teatro Alcalá. Madrid, 2008
 Chicago''', de B. Fosse, J. Kander y F.Ebb. Dirección de Coco Comín y Marc Monserrat. Teatro Principal. Barcelona, 1998.
 Calderilla, basada en "la opera de los cuatro peniques", de Bertotl Brecht. Dirección de Guillermo Heras. Festival Iberoamericano de Cádiz. Gran Teatro Falla, 1996

 Referencias

 Enlaces externos
 Página oficial de Paco Azorín
 Enciclopèdia Catalana
 La Voix Humaine'''''y Una Voce in off - Gran Teatro del Liceo

Nacidos en Yecla
Escenógrafos de España
Directores de teatro de España
Directores de escena en el Teatro Real

Paco Azorín


An Haworthia chloracantha in uska species han Liliopsida nga ginhulagway ni Adrian Hardy Haworth. An Haworthia chloracantha in nahilalakip ha genus nga Haworthia, ngan familia nga Xanthorrhoeaceae.

Subspecies

Ini nga species ginbahin ha masunod nga subspecies:

 H. c. chloracantha
 H. c. denticulifera
 H. c. subglauca

Mga kasarigan

Mga sumpay ha gawas

Haworthia

Haworthia chloracantha


Walter Egloff () a fost un librar și editor elvețian.

Biografie
Walter Egloff era fiul unui negustor. A studiat mai întâi la colegiul Engelberg al fraților benedictini și a urmat apoi cursuri de economie politică la Universitatea din Zürich. După absolvire, a devenit asociat la editura Librairie de l'Université de Fribourg și apoi a cumpărat-o în 1935, mutând-o la la Paris în 1944.

Bibliografie
 Walter Egloff et la L.U.F. (1935-1953) : une librairie idéale, une aventure éditoriale : catalogue de l'exposition : Fribourg, Bibliothèque cantonale et universitaire, du 24 septembre au 23 octobre 1999 / textes réunis par Michel Dousse et Simon Roth ; préf. par Martin Nicoulin. - Fribourg : Bibliothèque cantonale et universitaire, 1999
 Claude Chuard : « Walter Egloff n'est plus », in : La Liberté, 15-16 mars 1986, p. 24
 Edwin-Maria Landau : « In memoriam Walter Egloff », in : Bulletin de la Société Paul Claudel, no 103 (1986), p. 21-22

Legături externe
 BCU Info no 33
 Archives de la Librairie de l'Université de Fribourg  (L.U.F.) (Archives littéraires suisses)
 Une librairie idéale, une aventure éditoriale: Walter Egloff et la L.U.F. sur le site de Fabula

Nașteri în 1909
Decese în 1986
Editori elvețieni

Walter Egloff


Hoya somadeeae er fjölær jurt í vaxblómaættkvísl.  Útbreiðslan er á Taílandi.

Tilvísanir

Vaxblómaættkvísl

Hoya somadeeae


Les tueurs sont nos invités () est un giallo italien réalisé par  et sorti en 1974.

Synopsis
Franco, Eliana et Mario dévalisent une bijouterie à Milan et s'enfuient. Franco, cependant, est blessé lors de la fusillade avec la police. Les trois hommes décident donc de se réfugier temporairement dans une villa isolée, où vit le . Les criminels obligent Malerba, qui est médecin, à s'occuper de Franco, et entre-temps ils contactent Eddy, le chef de l'organisation. Alors que le trio attend l'arrivée d'Eddy, la tension commence à monter dans la maison.

Fiche technique
 Titre français : Les tueurs sont nos invités
 Titre original italien :
 Réalisateur :
 Scénario : , Bruno Fontana
 Photographie :
 Montage :
 Musique : Roberto Rizzo,
 Décors : Claudio Riccardi
 Effets spéciaux : Studio Venus
 Maquillage : Giuliana De Carli
 Production : Gaspare Palumbo  Alberto Rigo  Produzione Palumbo
 Sociétés de production : Lombarda Films
 Pays de production :
 Langue originale : italien
 Format : Couleur par Technicolor - 1,33:1 - Son mono - 35 mm
 Durée : 85 minutes
 Genre : Giallo
 Dates de sortie :
 Italie :  (visa accordé le )
 France :

Distribution
 Anthony Steffen : Guido Malerba
 Margaret Lee : Eliana
 Luigi Pistilli : Commissaire Di Stefano
 Gianni Dei : Franco
 Livia Cerini : Mara Malerba
 Giuseppe Castellano : Mario
 Sandro Pizzocchero : Eddy
 Giovanni Brusatori : commissaire adjoint
 Giancarlo Busi : policier à la villa

Accueil critique
D'après Maurizio Pauro du Corriere della Sera du  : « Filmé à Milan par une nouvelle coopérative cinématographique et réalisé par l'ancien chef opérateur Vincenzo Rigo, Les tueurs sont nos invités révèle une certaine prouesse technique, mais pêche complètement par son scénario, truffé de clichés. Une fois encore, le malentendu entre le réel et le vraisemblable se répète : le cinéma est trompeur, il ne suffit pas de paraître réel pour être crédible, c'est même souvent le contraire qui se produit. Avec sa psychologie ringarde et sa structure redevable à une longue série de films américains de facture bien différente (rappelons La Maison des otages de Wyler), le film cherche sa propre place, errant entre le racolage érotique et la représentation d'une société ternie par le nocivité de la pègre. Mais le message reste peu intelligible, notamment parce que les interprètes ne parviennent pas à capter notre attention ».

Notes et références

Liens externes

Film italien sorti en 1974
Film policier italien
Giallo
Film de casse italien
Film en italien
Film tourné aux studios Incir De Paolis
Film tourné à Milan
Film se déroulant à Milan
Film sur la violation de domicile
Premier long métrage sorti en 1974

Les tueurs sont nos invités


Kékes (mađ. Kékes tető), je najveći planinski vrh u Mađarskoj. Visina mu je 1,015 metara. Nalazi se u planinskom lancu Mátra u županiji Heveš.

Ime
Naziv Kékes, planina je dobila zahvaljujući svojoj vrlo čestoj, plavičastoj boji koju dobiva zbog svoje visine, izmaglice i isparavanja. Na mađarskom jeziku kék znači plavo, dok je es je posvojni pridjev, a tető znači vrh, krov. Tako da bi doslovni prijevod imena planine bi bio Plavičasti vrh.

Zanimljivosti
Kékes je treća po popularnosti, turistička destinacija u Mađarskoj, poslije Balatona i Dunava. Sama planina je prepuna hotela i skijaških staza. Na samom vrhu planine nalazi se televizijski toranj.

Auto reliji
Na Kékesu se svake godine održava biciklistička utrka Tour de Hongrie. Pobjednik 2003. godine bio je hrvatski biciklist Matija Kvasina.

Reljefni oblici u Mađarskoj
Planinski vrhovi u Europi

Kékes


Luka Vuco Luis (1948.  2. veljače 2019.), bio je hrvatski glazbenik. Otac hrvatskih glazbenika Siniše i Hrvoja Vuce. Snimio je 2005. album pod etiketom Croatie Recordsa Bonaparte, Minnesota, Mediterane. Svih deset pjesama s toga albuma napisao mu je sin Siniša. Na albumu je ostvario suradnju s klapom Trilj.

Izvori

Vanjske poveznice

Luka Vuco, Discogs

Hrvatski pjevači

Luka Vuco (glazbenik)


Der Jüdische Friedhof Mackensen ist ein jüdischer Friedhof in der Ortschaft Mackensen, die zur niedersächsischen Kleinstadt Dassel im Landkreis Northeim gehört. Er ist ein geschütztes Kulturdenkmal.

Auf dem Friedhof, der von 1835 bis 1900 belegt wurde und an der Forststraße westlich von Mackensen liegt, befinden sich 20 Grabsteine.

Literatur
 Rüdiger Kröger: Mackensen / Dassel. In: Herbert Obenaus (Hrsg. in Zusammenarbeit mit David Bankier und Daniel Fraenkel): Historisches Handbuch der jüdischen Gemeinden in Niedersachsen und Bremen. Band 1 und 2 (1668 S.), Göttingen 2005, ISBN 3-89244-753-5, S. 1030–1035.
 Aus dem Jahr 1985 liegt eine Dokumentation des Friedhofs von Berndt Schaller vor. Darin sind die Abschriften aller Steine enthalten.

Weblinks
 Mackensen. In: Übersicht über alle Projekte zur Dokumentation jüdischer Grabinschriften auf dem Gebiet der Bundesrepublik Deutschland; hier: Niedersachsen

Mackensen
Baudenkmal in Dassel
Bauwerk in Dassel
Friedhof Mackensen
Mackensen

Jüdischer Friedhof (Mackensen)


Optus Television is the cable television division of Australian telecommunications company Optus.

History
Its immediate predecessor was Optus Vision, a joint venture between Optus and Continental Cablevision, with small shareholdings by media companies Publishing & Broadcasting Limited and Seven Network. It was founded to handle residential cable television and local telephony, while its parent concentrated on corporate, long-distance, satellite and interstate communications. It used a hybrid fibre coaxial cable network to connect homes to its network, and subsequently added broadband cable internet access.

Optus Vision used the Optus telecommunications licence as its authority to build a cable network, which it deployed in Sydney, Melbourne and Brisbane.

Optus's main competition, especially in the metropolitan areas, was Foxtel, a joint venture between Telstra and News Corporation.

Optus negotiated exclusive access to AFL, rugby league, and other sports, and had exclusive access to Disney Channel, ESPN and MTV Australia, but lacked the general entertainment channels Foxtel had. It commenced its cable TV service in September 1995, one month before Foxtel, delivering a limited number of channels to a small number of subscribers, all of whom were connected via its Blacktown Exchange.

From 1995 to 1997, the Super League war waged between the two consortia over lucrative rugby league rights.
In March 1997, Optus bought out the other shareholders in exchange for equity in itself, to float.

In 2002, it let go of some of its exclusive content contracts, replacing them with non-exclusive ones. MTV Australia, Disney Channel, ESPN and the premium Movie Network channels all became available on Foxtel.

In 2009, Optus Television stopped offering service to new subscribers, but maintained it for existing subscribers.

From February 2011, Optus again offered Optus TV featuring Foxtel including IQ2 services.

On 14 February 2016, Singtel-Optus renewed their contract with Astro-Fetch TV in preparation for the 2016/17 EPL season.

Satellite broadcasting
Optus, along with Austar had a joint venture in the use of Satellite broadcasting for the delivery of Subscription Television. Originally, Foxtel had not previously offered a Satellite service, until purchasing the satellite subscribers from Australis Media within their service area. Until 2004, Foxtel was a customer of the Austar/Optus joint venture.

Optus utilised this joint venture to initially trial and subsequently offer a basic satellite service, named VIP. The service was very select with not many being able to access the service. It was also offered to Norfolk Island and some smart cards were enabled for some residents (who had the required satellite receiving equipment) to take part in a trial of the service. The ability to offer the service came about due to Optus offering a large number of channels to East Coast Television (now a part of Austar). After Optus axed the "VIP" Service, it also sold its share in the joint venture to Austar.

In 2004, the roles reversed and Austar became the customer to Foxtel for satellite delivery.

Sports programming

Until 2002, Optus did not offer the Fox Sports sporting channels on their service as Foxtel and Austar did, instead offering channels from Sportsvision, (later C7 Sport) and ESPN.

During the Super League/ARL war, the Optus sports channels had the rights to the ARL competition and the Super League rights were held by Fox Sports.

Seven bought Sportsvision, which became Optus and Austar exclusive C7 Sport and progressively lost sporting rights to Fox Sports. During that time Foxtel granted Optus an NRL Channel, screening all of the NRL matches that had previously been shown exclusively on the Foxtel platform.

C7 Sport for some time had attempted to access the Foxtel platform for their service – however Foxtel were hesitant to accede to the request, with one exception being the 2000 Sydney Olympics, where C7 offered two extra channels dedicated to Olympics coverage.

In 2000, Seven and C7 Sport lost the AFL rights to a Nine/Ten and Foxtel-based consortium leaving C7 with only the Olympic Games and Six Nations Championship rugby union rights of major substance.

In March 2002, the commencement of the new AFL broadcasting deal with Foxtel led Optus and Austar to drop C7 Sport from their services, leading to the demise of the channel. Optus replaced the C7 channels with an Optus rebadged version of Fox Sports. Optus dropped the "Optus Sports" name in October 2002.

The dropping of the C7 service led to Optus being a party in the unsuccessful legal action taken by the Seven Network over the demise of the C7 Sport service.

On 13 July 2016, Optus launched Optus Sport, a group of sports channels that were established to televise the Premier League.

Subscriber numbers
For some time, Optus has not explicitly released subscriber numbers for their Optus Television service, however combining them with other services offered under the division of which Optus Television is a part.

Since December 2002, subscriber numbers have dropped considerably to almost half of the 241,000 reported.  Since that time, Optus has repositioned its television service to being a major component of bundled services, rather than a service by itself. By August 2010 only 96,000 subscribers remained.

Optus iTV trials
During 2002–2003, Optus trialled interactive digital television over part of its Sydney network. The service was being built from 2000. This service was known as Optus iTV. The service was unique to Optus and had a good deal of positive consumer feedback. The iTV service utilised the Liberate platform instead of OpenTV, as used by Foxtel Digital. The trials were cancelled by Optus after the Content Supply Agreement with Foxtel was reached. One byproduct of the new agreement was the re-engineering of the Optus iTV broadcast centre in Macquarie Park to become the new broadcast centre for Foxtel.

A notable difference between Optus iTV and Foxtel Digital was that the Optus system used the same HFC cable network both for delivery and for the return path, meaning no additional hardware or service was required for this return path.  By contrast, the Foxtel Digital system at the time relied on a telephone connection for the return path.  The advantage of this system is that it is platform neutral, meaning that the same telephone-based return path can be used for both cable and satellite installations.

The Optus iTV system also allowed near video on demand (nvod) not true video on demand. Foxtel Digital now provides Near Video on Demand as well. Featured content broadcast on multiple channels with staggered start times available at frequent intervals. Some new Foxtel Services offer a "Video on Demand" ability for limited product, various transmission paths offer a broader VOD version.

Other potential features of Optus iTV included e-mail and walled garden Internet access.

Optus TV featuring Foxtel

After signing up to the Content Supply Agreement with Foxtel, Optus Television changed their channel line up to reflect the offerings from Foxtel.   Optus were able to have a number of differences between their offering and the Foxtel offering, so that Optus could meet some contractual obligations they had, as well as satisfying a number of requirements placed on the organisation by the Australian Competition & Consumer Commission.

A number of channels that had previously been unique to Optus (in comparison with Foxtel) such as the Odyssey Channel were removed from the Optus line-up, as they competed with channels that Foxtel offered. Other channels crossed from Optus to the Foxtel line-up such as the Ovation Channel. Optus was required to have a number of channels that were unique to their service, though the flagged channels are now available on both platforms without any change in regulation nor penalty.

Optus TV featuring Foxtel Digital
In April 2005, Foxtel granted Optus the right to carry the "Foxtel Digital" platform (one year after being available to Foxtel subscribers) The service would be resold by Optus, utilising the same equipment as Foxtel (such as the Foxtel set top box, remote, NDS technologies for encryption and OpenTV for interactivity delivery).

This agreement also allows for non-exclusive resale rights to the Foxtel Digital service using Satellite Delivery within Foxtel's service area.

Commencing trials in November 2005, the service became fully operational in December of the same year.

Optus is believed to be permitting wholesale access to the network so third party broadcasters can sell subscription services over Optus cable.

See also

Subscription television in Australia

References

External links

Optus
Australian subscription television services
1994 establishments in Australia
Australian brands
Companies based in Sydney
Telecommunications companies established in 1994
Mass media companies established in 1994
Telecommunications companies of Australia

Optus Television


The open front unrounded vowel, or low front unrounded vowel, is a type of vowel sound used in some spoken languages. It is one of the eight primary cardinal vowels, not directly intended to correspond to a vowel sound of a specific language but rather to serve as a fundamental reference point in a phonetic measuring system.

The symbol in the International Phonetic Alphabet (IPA) that represents this sound is , and in the IPA vowel chart it is positioned at the lower-left corner. However, the accuracy of the quadrilateral vowel chart is disputed, and the sound has been analyzed acoustically as extra-open at a position where the front/back distinction has lost its significance. There are also differing interpretations of the exact quality of the vowel: the classic sound recording of  by Daniel Jones is slightly more front but not quite as open as that by John Wells.

In practice, the symbol  is often used to represent an open central unrounded vowel. This is the usual practice, for example, in the historical study of the English language. The loss of separate symbols for open and near-open front vowels is usually considered unproblematic, because the perceptual difference between the two is quite small, and very few languages contrast the two. If there is a need to specify the backness of the vowel as fully front one can use the symbol , which denotes a lowered near-open front unrounded vowel, or  with the IPA "advanced" diacritic.

Features

 This subsumes central open (central low) vowels because the tongue does not have as much flexibility in positioning as it does in the mid and close (high) vowels; the difference between an open front vowel and an open back vowel is similar to the difference between a close front and a close central vowel, or a close central and a close back vowel.

Occurrence
Many languages have some form of an unrounded open vowel. For languages that have only a single open vowel, the symbol for this vowel  may be used because it is the only open vowel whose symbol is part of the basic Latin alphabet. Whenever marked as such, the vowel is closer to a central  than to a front . However, there may not actually be much of a difference. (See Vowel#Acoustics.)

Notes

References

External links

Open vowels
Front vowels
Unrounded vowels

Open front unrounded vowel


Die Storm war ein Torpedoboot 1. Klasse (norw.: Torpedobåt Kl. I) der norwegischen Marine, das von 1900 bis 1940 in der norwegischen Marine diente, im April 1940 von der deutschen Kriegsmarine erbeutet wurde, dann aber bereits nach wenigen Tagen auf einen Unterwasserfelsen lief und sank.

Bau und Technische Daten
Die Storm war das Typschiff ihrer Klasse, zu der neben ihr die Brand und die Trods gehörten. Die drei Boote waren weithin baugleich mit den drei 1896 bei Schichau in Elbing für die norwegische Marine gebauten Booten des Typs Hval und den vier in den Jahren 1900 und 1901 ebenfalls in Norwegen gebauten Booten des Typs Laks.

Die Storm lief am 1. Juni 1898 bei der Carljohansværn Værft, der "Marinens Hovedverft", in Horten vom Stapel und wurde im Jahre 1900 in Dienst gestellt. Das Boot war 40,0 m lang und 4,90 m breit. Es hatte vorn 1,10 m und achtern 2,10 m Tiefgang und verdrängte 80 Tonnen (standard) bzw. 107 t (maximal). Die Maschinenanlage bestand aus zwei Wasserrohrkesseln und einer Dreifach-Expansions-Dampfmaschine, deren 650 PS über eine Schraube eine Höchstgeschwindigkeit von 17,5 Knoten ermöglichten. Bis zu 17 Tonnen Kohle konnten gebunkert werden. Die Bewaffnung bestand aus zwei 3,7-cm 5-Rohr Hotchkiss-Revolverkanonen und zwei 45-cm-Torpedorohren, eins zwischen den beiden Schornsteinen und eins auf dem Achterschiff. Die Besatzung zählte 23 Mann.

Schicksal

1900–1939
Während der politischen Spannungen mit Schweden im Verlauf des norwegischen Lösungsprozesses aus der bisherigen Personalunion mit Schweden nach der Volksabstimmung vom 13. August 1905 mobilisierte Norwegen, wie auch Schweden, am 13. September seine Streitkräfte. Als im Herbst ein Krieg drohte, nahmen die Storm und die anderen neuen Torpedoboote an ausgedehnten Marinemanövern teil. Sechs von ihnen wurden dann im Oslofjord unter Führung des Zerstörers Valkyrjen stationiert, um dort einen befürchteten schwedischen Angriff von See auf Oslo und die militärischen und industriellen Installationen in Ostnorwegen im Zusammenwirken mit den vier Küstenpanzerschiffen abzuwehren; die anderen vier Torpedoboote 1. Klasse blieben vor Bergen.

Während des Ersten Weltkriegs diente die Storm, wie die anderen Schiffe der norwegischen Marine, zur Sicherung der norwegischen Neutralität und im Geleitdienst für Handelsschiffe in norwegischen Küstengewässern. Nach dem Ende des Kriegs war das Boot bis 1927 hauptsächlich damit befasst, Schmuggler aufzubringen, die während der norwegischen Prohibition Alkohol ins Land brachten.

1940
Die Storm gehörte beim Beginn des Zweiten Weltkriegs mit ihren Schwesterschiffen Brand und Sæl zur in Bergen beheimateten und zum 2. Seeverteidigungsabschnitt gehörigen 4. Torpedobootsdivision. Diese Zuordnung war jedoch rein administrativer Art, und jedes Boot operierte verhältnismäßig unabhängig in dem ihm zugewiesenen Küstenabschnitt. Die Storm war im Krossfjord (südlich von Bergen und der Insel Sotra) bei Hummelsund (Kommune Øygarden) stationiert, die Sæl weiter südlich in Brandasund am Selbjørnsfjord, und die Brand in Fedje auf der gleichnamigen Insel nördlich von Bergen.

In den ersten Kriegswochen rettete die Storm zweimal die Besatzungen von Handelsschiffen, die in der Nähe der Insel Store Marstein vor der Einfahrt in den Krossfjord und damit nach Bergen von dem deutschen U-Boot U 7 unter Oberleutnant zur See Werner Heidel, nachdem die Männer in die Boote gegangen waren, torpediert worden waren. Am 22. September 1939 nahmen die Storm und das Lotsenboot von Marstein die 26 Mann des britischen Frachters Akenside (2.694 BRT) auf, der mit einer Ladung Kohle nach Bergen unterwegs gewesen war. Am 29. September schleppte die Storm die beiden Rettungsboote des norwegischen Frachtdampfers Takstaas (1.830 BRT) nach Sund im Krossfjord, nachdem deren Schiff, das mit einer Ladung Holz nach England unterwegs war, ebenfalls von U-7 torpediert worden war.

Als beim Beginn der deutschen Invasion Norwegens am 9. April 1940 die Kriegsschiffgruppe 3 vor Bergen ankam und in den Fjord einlief, gelang der Storm ein Torpedotreffer auf dem Schnellbootbegleitschiff Carl Peters, aber der Torpedo explodierte nicht und verursachte nur geringen Schaden. Danach gelang es der Storm zunächst, in den Hardangerfjord zu entkommen, wo sie dann jedoch von der Kriegsmarine erbeutet wurde. Ehe das Boot dann, wie vorgesehen, von der Kriegsmarine offiziell in Dienst gestellt werden konnte, lief es am 13. April 1940 bei Bremnes am westlichen Ende der Insel Bømlo, etwa 25 Seemeilen nördlich von Haugesund, auf einen Unterwasserfelsen und sank.

Weblinks
 http://www.navypedia.org/ships/norway/no_dd_storm.htm
 Ships of the Norwegian Navy in April 1940 (private Webseite) auf web.archive.org archiviert am 2. Februar 2017, abgerufen am 20. Dezember 2020

Literatur
 Jon Rustung Hegland & Johan Henrik Lilleheim: Norske torpedobåter gjennom 125 år. Sjømilitære Samfund ved Norsk Tidsskrift for Sjøvesen, Hundvåg, 1998, ISBN 82-994738-1-0 (norw.)

Fußnoten

Torpedoboot (Norwegen)
Deutsche Besetzung Norwegens 1940–1945
Beuteschiff (Kriegsmarine)
Schiff im Zweiten Weltkrieg
Schiffsverlust durch Grundberührung
Schiffsverlust 1940

Storm (Schiff, 1898)


Silverio Landa Bueno es un pelotari mexicano. Durante el Campeonato del Mundo de Pelota Vasca de 2006 ganó la medalla de plata en la especialidad de mano parejas, junto a Pedro Olivos Jiménez.

Referencias

 Campeones mexicanos del 16º Campeonato Mundial de Pelota Vasca de 2006

Manistas
Pelotaris de México

Silverio Landa Bueno


Walter Hauser (født 1. maj 1837 i Wädenswil, død 22. oktober 1902 i Bern) var en schweizisk statsmand.

Hauser, der oprindelig var garver, valgtes 1869 til kantonsrådet for kanton Zürich og blev en af demokraternes førere. Han blev 1881 medlem af kantonets regering og viste sig som en dygtig finansmand. 1869—75 havde han sæde i det schweiziske nationalråd, valgtes 1879 til stænderådet (var 1883 dets formand) og 1888 til forbundsrådet, hvor han i de første par år styrede militærvæsenet og senere finanserne; 1892 og 1900 var han forbundspræsident.

Kilder

Medlemmer af Forbundsrådet (Schweiz)
Politikere fra Schweiz

Walter Hauser